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I Knov that the past was great, and the futnre will be 

great, 

Hnd I Know that both curiously conjoint in the present 

time, 



And that where I am, or you arc, this present day, 

there is the centre of all days, all races, 

Tin there is the meaning, to us, of all that has ever come 
of races and days, or ever will come. 

WrtLT WHITMnn 



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You will re2^:ifcK^r ths^t aas?© wiUeli at^jicos {ml to im nuijiit 
tiie ^:ian,Iils ln5io<5c^5it yoxm^ dauf-l.tcr 2Uid the Patli:m \7ho \7aa* oiip-poBetCto' be 
tj^ying to TlolatG Iicr virtue* X put t.ie -.iiise to .K-:b\ ilalifb and lils 
reply ,s one -iv^i^it eiabomted by riy oiibi^t^quent tliliuli^- tms £io followo:* 

Xf I drop tlie Pto?ie upon him, no rmtter -^lether 1 kill 
or foil to Icill liiii tlie ^- : upon i^f 'Iuam^^qt would hi^ t© cr^sett 

in her lieart aiid oliM, ]53:.. . .,..^_., to n^^i? *ic^r a atroiiG liJ^rc^ission th-.t 
ortu© w:.s not so i^iucli a spiritiiaX qtfaity depcsiidxng tooh spiritual 
es for Ita dci'eaae hsm an idea tic.t it is isoiae-tking wiiiah required 

rial forcje probr.a>Xy exerted 1^ another, for Ita pinsieatloiu 'aat is 
to 30^ r:' .Id ha\rc a rm^torlal conception of heir virtiieo I also ci^e 

lier an c^.. ion of i^- omx tfiur mid I r^we^iforoe that fear within i^nelt 

h^ q2^ aatiwu. ^ >^^ ^^, .^,#«^..^,_ ...,^., 

X£ I drop tiic stdne but I'ail to kill Mm I of oomise 
create in liim xm^si fear and "iiM.tre''^ ; -■^^■•V ii-ie probalxlity of hicaslk fciliowisc; 
laertiy to r^y daiiiiiter ia greatly • further nore jyrr^0ubGei;;iuent 

efforts of non-^lolent rcoiotiKiac imjEri:2lf mnilcl of eotinsw 1>e fiitllc:* 



If I u:,e noii^p^iolent ;-iotli£»d© of rcHlstmiq^ m^ fail to 
preirent hin in uicj ptirpooc niid I m't j:llltsd ^i^seli", ^he effect on Mia m>uld 
prol>ab2^ l.>e sooner or later to ommQ rer^iorse tmd t^erlmps cm^ie him to 
cleislst entir^il^ frou Ms '^5^3' T!ie effect of !^ do^'th on r^ daui#iter 
ni|?ht well b€ so great n^ to entirely rmMiTO tlic v^'ioral clani^r fror^i Iwv 
no matter v?iiat deeds of "violence r/ero dono upon hzT. 

l^alAi ^.aiiih -rtctodi^Mf ^b ^tou probably :^o^? Xnuians ■ 
"believe tli-t 111 nonvGriolcntg acslf*^ajHtftc€ lum ti profoimd ijffcat in Urn 
of tJiti spirit «md fiets In actP^^tie-.^endouii i^iplritii^a forces • 




:n r0c--.:rd to Mixing Mfimla md Immr ionm of life he asdai 
th-% ^H:r-;q.^s tli<5 raout ii!^ortant a<ihBidcraticx> ^^0 its ©ffsct i^?on 
till? slf.*ycr«. -Xlie evil €ff<^ct of bxxqIi miction i^ -rr^Jatest ^fiiere thQiy i© 
the "lost e;,'i3patlgr between tlic slr^^er anti timt ^liGb i0 sjlaiti. I?*or 



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SOIE BOOi:;^ THLT HA^:u STKiiiELiD IIY ^HBiKHm 

l^'e;v xCStL-Lieiit 

Psc.lms 

Buddha '8 Dhaiiunafpada 

Bagavad - Gita 

Lao '2ze*3 Wt-y of Keason 

Tolstoy - i:in£:dom of O-od is './ithln you - Wliat is to bo Done 

Jolni I.iorley - On Gompromise 

Tlioreau - Life Witliout PriiiOiple - Virtue of Oivil 

Disobedience 
Rabindrinath xagorc - Sadhaiva 
Qai.dlii - Seroon on tae Sea 
Gandhi - Youn^- India 

James Hint on - The iic.iv Breaker and the ij'alfilment of the ii£-,v7 
Ed\/ard O^^.rj, enter - Toward Democracy 

- Civiliiiat ion, its Cause and Ouxe 
17. James - Varieties of Keli^rious Kxperience 
Brov/ning - P.iug taid the Boole 
i)jiax Liastmc.n - Ihjjoyment of Poetry 
Kipling's - If 
Kvel^m Under hi 11 - Llystioism 
'-White's - L'lecha^iiBms of Giiaracter Formation 

Autonomic l^Vnctions and the Personality 
Llic Fayjoe - history of Art 

G. Ferrer - Ajicient Kome c-nd Modern America 
A. J. Penty - A Cuildeman's Interpretation of History 
Teg-gart - iTOoesses of Histjry 
.1 



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l/L.ltcr j'atlicnt'.u ~ In Dt.ys to Gome 

AuGtin li^reemcii - Social Beci-.y and Hegoiieration 

T. Veuleii - Tlieory of the l u ^ jloins - c Glass 

- iMic I.atiire of reace 

B.*^b. './e'b'b - Decay of Gapitalist Civilisation 

G. T; ylor - i^^llaoy of Sjyeecli 

Bertrc.nd Kussell - Proaxjectu of Industrial Civilisation 
Icarus 
i'x'ooleni of China 

J. J]. 3. Haldane - DAodelus 

A. G-oldenv.'Giscr - I'.trly Civilisation 

A. Pound - Iron Ivlcin 

^MJiuel .Butler - Lrewhon 

Graham V/c.llas - C-rOc-.t oociety 

^ (George Ihissell) - The I;ational Being- 

]?raj3t Oj_._t.)enheij:ier - Tlie ^tato 

3ir Henry liaine - Village Comuunities 

P. IZropotkin - Llutual Aid 

Lev; is IlLUiyford - Story of U topia^s 

fe=. ./fiLSsq^iian - w'orld Illusion 

J. r. v/ar'basse - CoO|jorative Democracy 

D. Gr. Lulcerji - Caste and Out caste 

]i\ aoddy - Cartesian liconomics 

'S^, H. King - li^ari.iers of i^'orty Centuries 

S. r.eeve - hconomic Tendencies in the U.S. 

0, H. Parker - Tiio Casual Laborer 

J. A. HObson - Democracy after the V/ar 

Various magazine articles ix 'Eluding some by Iluhejrji - Atlantic 

llonthly. June, July and :.ugust , lli:d4> by Langdon llitchel , 
Atlantici i.onthly, i»'ebriMry, 11;24. 




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Poetry of Dawn and 
Dusk 



Whenever, of late, I have hap- 
pened upon a jeweled phrase or 
poem descriptive of the glory of 
dawn or the benison of evening, I 
have, in the manner of our old friend, 
Cap'n Cuttle, made "a note on't," So 
keen became the delight with which 
I found myself hailing each new ac- 
quisition ^ that yesterday I turned 
avocation to vocation and resolved 
to have at one gathering a whole 
bouquet. Sunrise and sunset have 
ever been the uplifting frame of 
man's deepest mocds. ' From th,e 
early days of remembered time, man 
has felt the beauty of dawn and dusk. 
"The evening and the morning" were 
to the ancient Hebrew the part that 
was equal to the whole 

For myself I confess that for sheer 
literary beauty and felicity of ex- 
pression I have found none who has 
caught more of the loveliness of 
dawn and dusk than has Dhan Gopal 
Mukerji. For example, in "Hari, the 
Jungle Lad": "Imagine to yourself 
the sunset in the jungle. The red- 
gold light vibrates over green walls 
of stillness; upon whose walls the 
many colored birds sing and croon. 
Suddenly the stillness from the trees 
rises like incense to the sky and 
hushes the bird voices. Down below 
in the grass for miles and miles, the 
insect voices like tongues of flame, 
color the space. The booming insect 
utterance . . . stops — the stillness 
has fallen from the green walls and 
dripped through the roots oi! the trees^ 
into the very heart of the "earth. 
Nothing moves . . . The darkness 
descends rapidly. . . Everything in 
the tree-tops has fallen asleep. . . 
The moon api^^ars, silver and soft 
like the very face of wonder." 

Next I must add to the bouquet the 
phrase of an American poet, "When 
morn comes singing o'er the sea," 
and Wordsworth's "In the meadows 
sweet and the lower ground was all 
the svyeetness of common dawn." 

For Wordsworth sunset and dawn 
are niOf^ |4ian color. They are archi- 
tectonic. J-Ie says: "The lights of 
morning, even as her shadows, are 
-architectural." He paints occasional 
but beautiful sunrises and sunsets in 
his long poem, "The Excursion." But 



his inspiration comes to quintessence 
in his sonnets. Yet one must not^ 
forget here that wonderful descrip- 
tion in his "Lin&s Written a Few 
^^iies^boye Tintern Abbey" in which 

occurs that line which Tennyson said 
was the finest in English literature: 

"a sense sublime . . . 
Whose dwelling is the light of set- 
ting suns." 

j ' But I must not allow Wordsworth 
to intrigue me into filling out my 
bouquet, for there are others who 
write of the magic of dawn and dusk. 
Unexpectedly I found a flower among 
the poems of Thomas Hardy: 

"Earth is a cerule mystery, 
As If not far from Paradise, 
At four o'clock." 

There are countless blossoms, of 
course, among the poems of Shelley 
—Shelley described by Francis 
Thompson as "dabbling his fingers in 
the day-fall," and by Alfred Noyes, 
called "the Poet of Light." Then 
Noyes himself has written into po- 
etry the benediction of twilight in 
his poem, "In the Cool of the Eve- 

: ning." 

Lest my bouquet become too large 
for handling, however, I must leave 
many flowers unpicked. Therefore 

j I would add only one more, the lines 

; from a poem of Edward Arlington 

I Robinson : 

"Dark' evening- in the West 
Where sunset hovers like a sound of 
golden h3rns." 




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. ^**, i^«^uv4<Ac.x. w^^oi. i-Nignt. Molt. $1.75. 

O'Neill, George. The White Rooster. Boni and Liver ight. $2. 

Park, Ethel Sloan. Book of American Mountain Songs. Green- 
berg. $3.50. 

Parker, Dorothy. Enough Rope. Boni and Liveright, $2. 

Ransom, John Crowe. Two Gentlemen in Bonds. Knonf. S2. 

Robinson, Edwin ATlin"'^-'^^ rr^:.i 






IS 



The ISymDol ot the Mountain 



kr 



SOMETIMES prepossessions of 
childhood or youth are so a part 
of us that when somebody, in- 
tentionally or otherwise, attempts to 
disparage them, we are instantly 
displeased with the man and his 
opinions, and spring up in defense of 
our own predilections. In such a 
position I found myself of late, when 
I was glancing through a little book 
of literary criticism by a young 
French poet-critic, Jean Cocteau, 
who, in speaking allegorical ly of the 
mountain and the sea, concluded his 
arguments in this way: "Evidently I 
love the sea better than the moun- 
tain. The true mountain (he dif- 
ferentiates between true mountain 
and the false) imposes upon me 
forms altogether readymade. These 
forms advise me; they put a limit to 
me. . . . The sea never imposes any- 
thing upon me; it never locks me 
up; its masses have no opinions of 
their own. The sea is only a dic- 
tionary to me." 

I have always loved and cherished 
the mountain as a symbol of man's 
ability \o reach spiritual heights. 
Hence txxj inclination to disagree 
with thfe French writer, who is 
prompt to run away at full speed 
from the impositions of the mountain 
and so willingly plunge into the 
depths of the sea. Meanwhile, as I 
watch in my imagination his haste 
down to the sea, my thoughts turn 
toward the mountain, that awe-in- 
spiring elevation pf earth, which not 
only sets no bounds to my thought, 
motivates it and opens before it 
vistas and mental perspectives. 

The mountain always reminds me 
of those taciturn but silently elo- 
quent individuals, who with the so- 
lidity of their characters, and with 
the loftiness of their thoughts, tower 
above everything, and advise and 
guide humanity. Unfortunately, 'I 
cannot say so much of the sea, al- 
though I am wide awake to the fact 
that there are many worthy men and 
women who are constantly held by 
,he beauty of the sea; that there 
lave been and still are many tal- 
ented writers who have dwelt in in- 
imacy with vast stretches of water. 

Whence does my predilection 
i-orae? — I often ask myself the ques- 
;ion. It is, I think, deeply rooted in 
my nature. I was born and brought 
up in a mountainous country, three 
thousand feet above the sea level — 
an elevation to which the salty and 



.only 
Viut 



moist smell of the sea never could 
have access, a highland in which 
the green hills, singing groves and 
sleeping lakes decorate and em- 
bellish the scenery of the country- 
side. 

Sea, ocean! these words I heard 
from the mouths of those who had 
traveled and seen the world; or I 
read about them in the books of 
geography and history; but they al- 
ways remained as mere signs of 
vague Ideas indicating some dark 
and ill-defined objects until the time 
when I left my homeland and crossed 
a long stretch of continent and 
reached the sea, that baffling myth of 
my boyhood. 

He who has not paused in front 
of a mountain, or perched high up 
on its peaks, or followed its foot- 
paths has missed an opportunity of 
coming into contact with a sublime 
form of nature. No matter whether 

he ascends the mountain or descends 
it, whether he makes its circuit or 
lies down on its slopes, the majestic 
figure is there, steadfast and solemn 
on its huge pedestal, reviewing its 
surroundings like a Titan in repose. 
It never moves, never dwindles or 
shrinks, never disappears for a 
moment or vanishes from sight. It 
is imperturbable, ready to convey to 
us the idea of lastingness. 

In the literature of the nations the 
mountain has always been treated 
as the symbol ol' moral grandeur and 
intellectual excellence. Ibsen in his 
literary symbolism always refers to 
the mountain as the tangible form 
of the greatness and freshhess of the 
human aspirations. In English lit- 
erature many a poet has felt t^^ 
charm and force of the mountain, 
and has chanted its majesty and 
inspiration. 

It was on a night late in .June, in 
Asia, when I, as an impressionable 
youth, first observed the mountain 
and consciously came in contact 
with its beauty. It was a fresh, 
moonlit night. I was traveling with 
my elders; we were mounted on 
donkeys. We had chosen night time 
in order to avoid the heat of the day, 
and were crossing a Long track of 
lowland surrounded by hills and 
woods. When we came out of a val- 
ley, I perceived in front of me a 
massive ridge of gigantic proportion, 
the rugged head of something colos- 
sal immersed in the clouds hunjg on 



the horizon. In the sky were innu- 
merable stars. The moon had just 
risen on the horizon; the landscape 
was wrapped as in a carpet. The 
massive head of Taurus towered 
against the sky line, with its gigantic 
front veiled in clouds faintly illu- 
mined by the glimmers of the moon. 
I gradually became aware of what 
was standing before me and domi- 
nating the lowland, the hills and the 
meadows. Mounted on my donkey, it 
seemed to me I was at a standstill. At 
that moment I became conscious of 
the beauty which a landscape in a 
wondrous night of summertime, 
dominated by a majestic mountain 
against the horizon, can display. 

Elisee Reclus, the French writer, 
thus expresses the charms which he 
felt in his contact with the moun- | 
tain: "And a whole new world had i 
risen up betweeVi me and the past. . . . | 
I loved its superb, calm face, illumined 
by the sun whilst we were still in 
gloom; I loved its mighty shoulders 
laden with ice — full of blue reflec- 
tions; its flanks whereon pastures 
.alternated with forests and wastes; 
its vast roots stretched out, afar like 
those of an enormous tree, separated 
by valley, each with its own rivulets, 
cascades, lakes and meadows; I 
Loved all things that belonged to the 
^ mountain, down to the green and 
jj yellow masses growing upon the 
crags, down to the stone gleaming 
I amid the turf." N>D. 



( 



ETH^L ROMIG FULLER 



Concerning the Speech of Mountains 
■\^ouNTAiNs talk! 

IVl Lesser mountains speak the folk- 
tongue of forests 
Wherein the shrill sweet tones of green 
heights ^ 

Commingle strangely with the deep gut- 
turals of canyons; 

An ancient tongue rich with the idioms 
ot wmd and rain and snow 

Poignant with the frail pink of rhodo- 
dendrons. 

Sibilant with rustling leaves and running 
water, ° 

Bitter with the tang of cedar and lir. 
Accented with the precision of sword ferns 
Punctuated by falling cones and blue 
Wings; 

Its quaint and ordered forms 
Older than runes, 

Lovelier than psalms, 

More potent than the benisons of priests. 

Mountains talk; 

Young mountains have tongues of fire 
Ihey harangue at length on death 
Preaching a doctrine of destruction. 

They make a cult of flame, 

And dramatize their mad convictions 

In cataclysmic rumbling. T^^'^f 

l^eavalsandmot^^^ "^ 



Mountains talk; 

But old white mountains 

Have learned the wisdom of repression, 

The effectiveness of silence. 

The eloquence of slow and awful gestures; 

Uplifted palms may support the heavens, ' 

May cup the thunders; 

An extended finger may shred a cloud, 

Shatter a moon-flask, 

Pierce a dawn — 

Blood of a young day on snow is crimson. 

Of a dying day, purple— 

A clenched fist may bruise the sun. 

The shadow of a white mountain across 

the world 
Is the measure of forever. 

Mountains talk; 

The loftiest mountains, still cowled in 
mystery, 

Commune with the prophets and interro- 
gate the stars. 

Mountains talk; 

Their language is a composite of all 

peoples, of all lands, of all ages 
Of all planets, of all seas. 
Its fundamentals are beauty. 

I am studying the language of mountains. 



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